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Jul. 28th, 2014 10:28 pmOne of the greatest things about Phantom of the Opera fandom/fic is being able to peg so easily whether someone is a music person or not.
Note to writers, you don't play something "in a staccato style". You just play it staccato. And btw, when staccato and legato are the only two words in your musical repertoire, you're not gaining any brownie points by using them over and over and over.
Same goes for any lesson where it's basically like "Christine had trouble getting to the higher notes. After her lessons she started getting better at the higher notes."
God, I remember one notorious bad fic where it was all like "before the phantom started teaching her shit, Christine ONLY had a three octave range. :( " That whipped me out of the story so hard because you are in some pretty DAMN GOOD shape if you have a three octave range. As in, you can sing pretty much any piece in opera canon with a two octave range, let alone a three octave one (e.g. this notorious aria only spans two octaves).
And then I read an old favorite of mine and get lines like:
Her eyebrows shot up as she looked at the seemingly-impossible music that was on the paper. It was crammed full of fast thirty-second phrases, chords with five notes, sweeping runs up and down the staff that she was sure took at least four hands to do in time, and all of it accented and highlighted by phrasing and different makings such as fermatas, staccatos, and caret accents that made her fingers ache by merely looking.
And:
"I'd much rather you spend your time understanding what 'raise your soft pallet' means than pointing out a dominant seventh chord."
And I'm just like, ahhhh... my people.
(For reals though, that 'raise your soft pallet' line: if you are a vocal person, you know how true and utterly frustrating those four words are at times.)
Note to writers, you don't play something "in a staccato style". You just play it staccato. And btw, when staccato and legato are the only two words in your musical repertoire, you're not gaining any brownie points by using them over and over and over.
Same goes for any lesson where it's basically like "Christine had trouble getting to the higher notes. After her lessons she started getting better at the higher notes."
God, I remember one notorious bad fic where it was all like "before the phantom started teaching her shit, Christine ONLY had a three octave range. :( " That whipped me out of the story so hard because you are in some pretty DAMN GOOD shape if you have a three octave range. As in, you can sing pretty much any piece in opera canon with a two octave range, let alone a three octave one (e.g. this notorious aria only spans two octaves).
And then I read an old favorite of mine and get lines like:
Her eyebrows shot up as she looked at the seemingly-impossible music that was on the paper. It was crammed full of fast thirty-second phrases, chords with five notes, sweeping runs up and down the staff that she was sure took at least four hands to do in time, and all of it accented and highlighted by phrasing and different makings such as fermatas, staccatos, and caret accents that made her fingers ache by merely looking.
And:
"I'd much rather you spend your time understanding what 'raise your soft pallet' means than pointing out a dominant seventh chord."
And I'm just like, ahhhh... my people.
(For reals though, that 'raise your soft pallet' line: if you are a vocal person, you know how true and utterly frustrating those four words are at times.)
